Earthenware Serveware, Ceramics, Silver and Glass

From the Atelier Cérenne à Vallauris in France, a hand made pottery Tulip plate, circa 1940-1950. The plate is finished in a matte glazing of half black and half white, with a pair...

Rare surviving small piece of early tableware. Suitable for everyday use as a charming piece of history for the dining table. The oval top with a leafy sprig with a berry. Four re...

French Quimper oval platter decorated with a Breton farmer on the center surrounded by a floral pattern signed HR (Henriot Quimper), circa 1920.

Eye-catching large leaf shaped glazed ceramic platter, serving tray or centerpiece manufactured by Vallauris. France, 1950-1960s. Interesting to be used as decorative centerpiece, fr...

Eye-catching large leaf shaped glazed ceramic platter, serving tray or centerpiece manufactured by Vallauris. France, 1950-1960s. Interesting to be used as decorative centerpiece bow...

Good pair of 18th century Dutch Delft Blue dishes decorated with a beautiful central flower arrangement of a tulip and a peony and foliage. The borders richly adorned with foliage sc...

A llate 18th-century Dutch Delft tin-glazed earthenware plate, decorated in underglaze cobalt blue with a landscape depicting a bridge. The rim is decorated with stylised floral mot...

This faience dish was crafted by the B&Cie factory in Montereau, while its design was conceived and painted by Félix Flick; Charles Poyard likely contributed to the enameling. T...

Single Delft tile of a girl in a dirndl skirt with robe a la polonaise, in cobalt underglaze blue. Backed with a felt pad to use as a coaster or trivet. Holland, circa 1700-50.

Rare 17th-century Blue Delftware dish featuring Wanli “Kraak” style decoration of an oriental figure in a garden, surrounded by floral and geometric panels. Tin-glazed earthenware in rich cobalt blue on a white ground. The central scene depicts an oriental figure in a garden, framed by alternating floral and geometric panels that extend to the rim, exemplifying the decorative finesse of early Delft potters. This dish reflects the strong influence of Chinese Wanli porcelain (1573–1620) on Dutch Delftware production. Delft potters closely studied imported Chinese Wanli “Kraak” porcelain...

French Faience birds Oyster Plate Saint Clement, circa 1890. Each shells is decorated with a differents insects, Rustic, Country style.

19th Century French Faience Divided Serving Tray in the Rouen taste. Crafted in France circa 1880, this elegant antique faience serving piece features a rectangular divided form with...

Mid 18th century Delft Blue plate. Features a lovely symmetrical composition of stylized tulips, scrolling foliage, and elaborate foliate elements arranged in a radiant pattern. Pai...

Eye-catching red Majolica ceramic tomato shaped tureen, Spain, 1960s. This huge tureen has a very realistic design with green leaves on the lid. The vib...

Nils Thorsson Blue Baca Series for Royal Copenhagen Faience bowl. Perfect condition.

Small French Faience Fish Platter Henriot Quimper, Circa 1930.

A large vintage serving platter featuring the wild Turkey, Barnyard King brown and white transfer-ware pattern by the celebrated English pottery firm, Jo...

Acquareccia plate Patanazzi workshop Urbino, last quarter of the 16th century It measures diameter 17.12 in; foot diameter 11.53 in; height 1.88 in (43.5 cm; 29.3 cm; 4.8 cm). Weight State of conservation: wear and a few small minimal detachments of enamel, chipping on the raised areas, peeling of enamel at the brim on the back. This large, shallow basin is equipped with a wide and convex well. It is umbonate with a contoured center. The brim, short and flat, is enclosed in a double rounded and barely raised edge. The basin has a flat base without rims; it has a slightly concave center in correspondence to the well. The shape takes inspiration from the basins associated with the metal forged amphora pourers that traditionally adorned the credenza. These were used from the Middle Ages to wash hands during banquets. Two or three people washed their hands in the same basin and it was considered an honor to wash one’s hands with an illustrious person. The decoration is arranged in concentric bands with, in the center of the umbo, an unidentified shield on a blue background: an oval banded in gold with a blue head, a gold star and a field with a burning pitcher. Rings of faux pods separate the center from a series of grotesque motifs of small birds and masks. These go around the basin and are, in fact, faithfully repeated on the brim. The main decoration develops inside the flounce of the basin, which sees alternating symmetrical figures of winged harpies and chimeras. The ornamentation, outlined in orange, green and blue, stands out against the white enamel background. This decorative style, defined since the Renaissance as “grottesche” or “raffaellesche”, refers to the decorations introduced after the discovery of the paintings of the Domus Aurea towards the end of the fifteenth century. The discovery of Nero's palace, buried inside Colle Oppio by damnatio memoriae, occurred by chance when a young Roman, in 1480, fell into a large crack which had opened in the ground on the hill, thus finding himself in a cave with walls covered with painted figures. The great artists present in the papal city, including Pinturicchio, Ghirlandaio, Raffaello, immediately visited these caves. The decorations found there soon became a decorative subject of immense success: the term grotesque , with the meaning of “unusual,” “caricatured,” or “monstrous,” was later commented by Vasari in 1550 as “una spezie di pittura licenziose e ridicole molto”( “a very licentious and ridiculous kind of painting”). The decorations “a grottesche” also widely circulated in ceramic factories, through the use of engravings, variously interpreted according to the creativity of the artists or the requests of the client. Our basin is reflected in similar artifacts produced at the end of the sixteenth century by the factories of the Urbino district. See the series of basins preserved in the main French museums, among which the closest in morphology is that of the Campana collection of the Louvre (Inv. OA1496); this however has a more complex figure decoration, while the decoration of our specimen is sober and with a watercolor style. The style, sure in its execution, approaches decorative results still close to the works produced around the middle of the sixteenth century by the Fontana workshop. The decoration is closely linked to their taste, which later finds its natural outlet, through the work of Antonio, also in the Patanazzi workshop. Studies show the contiguity between the two workshops due to the kinship and collaboration between the masters Orazio Fontana and Antonio Patanazzi, both trained in the workshop of Guido Fontana il Durantino. It is therefore almost natural that their works, often created according to similar typologies and under the aegis of the same commissions, are not always easily distinguishable, so much so that the presence of historiated or “grottesche” works by Orazio is documented and preserved in Antonio Patanazzi's workshop. Given that the studies have always emphasized the collaboration between several hands in the context of the shops, it is known that the most ancient “grottesche” works thus far known, can be dated from 1560, when the Fontana shop created the so-called Servizio Spagnolo (Spanish Service) and how, from that moment on, this ornamentation became one of the most requested by high-ranking clients. We remember the works created for the Granduchi di Toscana, when Flaminio Fontana along with his uncle Orazio supplied ceramics to Florence, and, later, other commissions of considerable importance: those for the service of the Duchi d’Este or for the Messina Farmacia of Roccavaldina, associated with the Patanazzi workshop when, now after 1580, Antonio Patanazzi began to sign his own work. Thus, in our basin, the presence of masks hanging from garlands, a theme of more ancient memory, is associated in the work with more advanced stylistic motifs, such as the hatching of the chimeras and harpies. These are found here on the front with the wings painted in two ornate ways. In addition, the theme of the birds on the edge completes the decoration along the thin brim and can be seen as representing an early style typical of the Urbino district during a period of activity and collaboration between the two workshops. Later, a more “doll-like” decorative choice, typical of the end of the century and the beginning of the seventeenth century, characterized the period of the Patanazzi workshop under the direction of Francesco. Bibliography: Philippe Morel, Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento, in: Marcello Fagiolo, (a cura di), Roma e...

Dutch Delft charger dish from the De Klaauw workshop, painted in cobalt blue monochrome enamel with the “Theeboom” or “Tea Plant” pattern. The central decoration features a dense f...

Pair of Satsuma earthenware Meiji period vases Japanese, Early 20th Century Height 36cm, width 23cm, depth 15cm The pair of outstanding vases was crafted in early 20th century Ja...

Charming, unusual bowl depicts a donkey wearing pink baseball hat and pulling a cart. The piece features elaborate decor on the cart with applied wheels and decorative rims; the donk...

A pair of Wedgwood creamware sauce tureens with original attached underplates and spoons, made circa 1820 in the refined Neoclassical style popular during the Regency era. Each turee...

An 18th-century Dutch Delft tin-glazed earthenware plate, with a Chinoiserie decoration. The central scene depicts a bird in flight above a flowering tree, with a second bird perched...

An Early 18th Century Blue & White Delft Posset Pot with cover, likely to be English origin due to the bulbous body, painted with birds and flower scene...

Danish Pottery Studio. Three plates with dancing couples c. 1940/50s. Thrown and hand-decorated faience with motifs of folk dancing couples and musicians in blue, brown, and black t...

In the trade, we commonly call these an Olive Oil Jar, but are actually an amphora, which is a type of container of a specific shape and dimension, which began in the Neolithic Perio...

Majolica roses plate signed Saint Amand, circa 1890.

French faience oyster plate Moustiers style signed Martres Tolosane, circa 1940.  

A French earthenware, hand painted square asparagus plate, circa 1890-1910. A pair of Majolica glazed asparagus tips are shown at each corner. Floral sprays are strewn across the ...

18th century Delft plate painted in blue and white with a floral garden scene and stylized fence at center, framed by scattered floral sprays. The rim is highlighted with a yellow ed...

This is a large impressive Art Pottery Vase, with three angular handles, all hand modelled using the Sgraffito method, with Fish decoration, hand made by W L BARON of Barnstaple...

Vintage ceramic or pottery pitcher features a standing gentleman in wonderful period clothing in yellow, blue, green, and white colors with a handle on the back. The figure is sculpt...

From Italy, this hand painted Majolica platter has two areas of ornamentation. The outer circle has busts of two different men, one on the top of the platter and one at the bottom. T...

Rare 17th-century Blue Delftware dish featuring Wanli “Kraak” style decoration of an oriental figure in a garden, surrounded by floral and geometric panels. Tin-glazed earthenware in rich cobalt blue on a white ground. The central scene depicts a sitting oriental figures in a garden, framed by alternating floral and geometric panels that extend to the rim, exemplifying the decorative finesse of early Delft potters. This dish reflects the strong influence of Chinese Wanli porcelain...

An impressive and rare 19th Century Art Nouveau French Majolica lily pads pitcher signed Choisy Le Roi, circa 1870’s. Faience pottery was first prod...

A beautiful hand painted blue, white, yellow, and green Allegorical faience pottery desk stand inkwell featuring a castle, bird, and foliate designs. By Deruta Italy, Early 20th Ce...

Dutch Delft Blue and White 'Peacock' plate, late 18th century, with brown rim, the center decorated in a vase containing an arrangement of peacock feathers and flowers. The rim decor...

Dutch Delft polychrome plate with lively polychrome decoration of central vase with an abundance of flowers on top op green foliate scrolls. Very ornate border with stylized Artemis...

Théodore Deck (1823-1891) An important Japonisme vase by Théodore Deck, combining richly developed glazes with sculptural elephant-head bronze mounts. This large enameled ceramic va...

French Majolica bird swallow plate signed Sarreguemines, circa 1880.

From the Minton pottery in Staffordshire, England, a Majolica glazed pitcher in the Palissy style, formed as a pineapple, registered and dated October 5th, 1858. From a set of thr...

Eye-catching pair of colorful Vallauris ceramic oyster dinner plates, France, 1950s Vibrant colors in shades of brown with orange, white and yellow accents. Each dish is divided into...

Bottega Vignoli, Byzantium vase, 2022, hand-painted maiolica fired in full-fire reduction firing 17cm x 37cm height. Unique piece. Bottega Vignoli, based in Faenza—the historic ...

A rare set of four French faience plates, attributed to the Sinceny manufactory, 18th century. Each plate is hand-painted with a polychrome bird perched among flowering branches, wit...

A fine, figural French toby pitcher. By Frie Onnaing. In polychrome decorated majolica. In the form of a drunken soldier sitting astride a wine barre...

French Faience plate quimper circa 1960. Breton with flowers.

Designed by the legendary Aldo Londi, this stunning ceramic centerpiece, also known as a cigar ashtray, is a rare masterpiece of Italian craftsmanship. Meticulously crafted by Bitoss...

Large Mid-Century Vallauris ashtray / bowl in multicolor glazed ceramic. Beautiful fat lava glazed ceramic ashtray in brown, pink purple and red colors. Manufactured by Vallauris. France, 1950s. This cool ashtray was handcrafted in France at the Mid-20th century period. Hand-crafted piece in shades of orange red, pink purple, ochre and green ceramic on a brown background with fat lava effect. It has four cigarrette or cigars holders. Highly decorative piece! This colorful piece will be the perfect gift for smokers. Also useful as jewelry bowl , decorative bowl or vide-poche. Overall Measures: 19 cm diameter x 9 cm height (7,48 in diameter x 3,54 in height). Vallauris Ceramic Round Bowl // Glazed Ceramic Fat Lava Bowl...

This beautiful blue and white hand painted charger was made in The Netherlands in the last quarter of the 18th century, circa 1780. It is decorated with an eye-catching floral design...

Set of twelve Paris Exhibition plates. Twelve Sarraguemines creamware souvenir plates from the Universal Exposition of 1889 in Paris Twelve different...

A fine pair of antique French faience jardinieres or cachepots. By Aprey. Each with two painted scenes on either side. One has a man gardening and a woman carrying a breadbask...

Dutch Delft Large Dish with Chinoiserie Dragon Design A superb large-format Dutch Delft circular dish, dating to circa 1700. This highly decorative...

Delftware teapot decorated in the beautiful Cashmere palet. Some damage to the glaze around the rim, and the finial re-attached. I can advise a good restorer, but I prefer to offer ...

A set of five Melitta Ceracron saucers or small plates from the 1970s, likely from the “Stockholm” series. The design features a bold concentric circle motif in warm red and orange t...

A pair of very unusual and charming earthenware 'Chevrette' cruches, or water pitchers, beautifully hand-painted with fantastical animal imagery in vivid blue and white. Commonly use...

In the Aesthetic taste, a Wedgwood majolica sea food plate, showing a raised lobster on a bed of yellow and green seaweed against a turquoise blue ground, England – late 19th Century...

Jug with neck in Saint Jean of the desert signed Berty of dimension 13 cm in diameter for 15 cm in height. Additional information: Material: Earthenware & Ceramics Style: 1940s ...

English Pearlware Blue Chinoiserie Large Shell-edged Dish, China House Pattern Variation, Probably Staffordshire, Circa 1810 The pearlware dish, with a molded shell-edge, is painted...

French faience oyster plate with flowers Moustiers style signed Martres Tolosane, circa 1940. Chips on the back of the plate.  

Newcastle Folk Art: A St. Anthony Prattware Pottery Horse St. Anthony Pottery, Newcastle upon Tyne, Circa 1800–1820 This charming early 19th-century...